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Cleopatra Wedding Macabre - Limited Edition of 40, Individually Signed and Numbered. Museum Quality Print, some still Available - Print
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Cleopatra Wedding Macabre - Limited Edition of 40, Individually Signed and Numbered. Museum Quality Print, some still Available Print

Arnvid Aakre


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12 x 8 in ($68)

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24 x 16 in ($125)

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About The Artwork

This painting started with five individual heads, then I found out that I wanted to put them together into a large painting. One of the heads happened to have an olive garland, and Roman history was asking for a place in the painting. But a mythical part of this history include a woman from Egypt, so famous female pharaoh, Cleopatra VII turned up. The Egyptian god Anubis came along as well, and the myth and painting Cleopatra Wedding Macabre started to find it's way. Now it's up to the contemplator to find the full story in this new myth. I have it as a wallpaper in my home, and we have not found the whole story, we see something new nearly every day. This Limited Edition of 40 Fine Art print in Museum Quality is made in co-operation with an art printer with long experience from both analogue and digital Fine Art printing. Art printing with Giclée pigment print on paper from the historical papermaker Hahnemühle who got an uninterrupted tradition of quality papermaking 1584. This limited edition uses a DigiSeed Certificate. This means that 40 digital files are individually signed and numbered from 1/40 to 40/40. Each numbered file is only printed once, and then sent the buyer for a security backup of the artwork.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 8 H x 0.1 D in


Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

From international artprojects, one-man shows, group exhibitions and as a curator for a artist led gallery - I moved away from the western art scene. Lived in a country with five thousand years of art history, and with contemporary egyptian artists for nearly fourteen years. Today my art is less an reaction, and more an interaction. *********MY_ART_STYLe**************** My first exhibitions was very much part "the New Wild", an art expression today often defined as neo-expressionism. Still, I was part of performance art projects, and an art critic once said that I "use figuartion as an excuse to paint abstract" - and yes, that's pretty true as well. *********DEVELOPING_MY_ARt******** Apart from working in the wave of "Heftiges Maleri", performance as curating, I have never used photo in my artworks, but included photographers in my art projects. My take on photography has been from documenting polaroid photos with their frames on canvas, to the painted serial "unsuccessful family photos". After this serial I did a number of paintings (on canvas) where one of the main focus was to cut a motive so much that the viewer had to imagine what was outside the frame. *********POST_ANALOG_ARt************ Most of my time the last ten years had been to develop and personalise an "post analog" art expression. "Post analog" is normally what's called digital painting and drawing, and it's first of all a tool. Still those who have been working in oil on canvas, have to learn a new way to work to get the best out of acrylic paintings (- and vice versa). It's no difference with digital art, as one can't take the experience of analog painting (as painting on canvas) directly over to post analog media. I still have the same way I express myself through art, but it took a many, many years before I could say that I was able to create art as freely in a post analog media as I did in my studio on canvas. *********DIGISEED_ARt*************** After having found the new post analog tools I had to create a new way to make sure the buyer of post analog art could become the owner of the digital file, and not only what is made from this file. This is what I call DigiSeed, and this information can be found here:

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